We respect that children are smart, sophisticated and can handle things that adults typically don't think they can.
I'm a huge fan of what Marvel did, it's no surprise for anyone to know that as a child I was a huge fan of comics.
We live in a world that wants to burnish the rough edges and straighten the crooked line, but conformity doesn't beget greatness.
I think anytime you see something that's been brought to life by an artist's hands, it just has a different kind of quality.
We're constantly trying to find the best way to tell the stories that we want.
I just love what art can do and what it means for us; that it can cross barriers. It can speak to us across space and time and culture.
When I became a father, I saw what passed for family entertainment. So much of it was vapid. I wanted to make things that mattered.
Portland and Oregon draw a certain kind of person to it. The city has extraordinarily talented people and sometimes it takes an outsider to see that.
We made a commitment to making diverse stories with diverse characters brought to life by diverse artists.
Stop-motion is sort of the redheaded stepchild of animation. But it's incredibly beautiful.
There is an inherent creative restlessness at Laika where we always want to challenge ourselves.
If you can connect with the audience emotionally, that's potent storytelling.
We want to tell unique, individual, discrete stories with a unique and discrete individual point of view.
From all the iterations, Bumblebee has been the Transformer with the most connection to people.
We used to go to movies to see stories about ourselves. It would transport us to new worlds and we'd see aspects of ourselves reflected back.
I spent a lot of time alone when I was a kid, I climbed trees, hopped creek beds, read, watched movies, I'd make stories, make films.
The executive side of you always wants to find the best, most efficient way to do things. Of course, art is extraordinarily inefficient.
One of the great many things I love about being a father is sharing my beloved childhood experiences with my kids.
Our ambition is to be the center of independent animation filmmaking; to be the bravest animation studio in the world.
Ultimately, the goal is to be on an annual cycle - releasing a film every year.
The only kind of people who pursue stop-motion as a career are people who are absolutely in love with the medium.
Creativity is messy and inefficient. But corporate governance needs to be tight and organized.
Nike is like a member of the family. Undoubtedly some of that stuff is in my DNA.
We're constantly trying to find the best way to tell the stories that we want.
It's a very difficult thing to adapt a piece of existing material into film.
I think any artist wants their artist to be seen and appreciated and enjoyed by as many people as possible.
Portland doesn't have the same kind of infrastructure that the national film hubs have. We struggle with that a little bit.
Stop-motion is filmmaking at the pace of a glacier. In live action, you're moving so quickly.
I was athletic growing up and that was, of course, a big part of my household, but it wasn't something that I was necessarily passionate about.
Phil is my father. He's a part of who I am. But I don't want to be defined by that.
Stop-motion has limitations, any form of filmmaking does, but stop-motion has a lot of limitations.
You throw a rock in Hollywood and you're going to hit someone in the film industry.
